Fender SR-6520PD, SR-8520PD User Manual

Owner’s Manual for SR-6520PD SR-8520PD
P/N 049152
TABLE OF CONTENTS
1. OVERVIEW
1-1. BLOCK DIAGRAM 1-2. INTRODUCTION
2. FRONT PANEL CONTROLS, JACKS, AND LEDS
2-1-1. LINE INPUTS 2-1-2. MICROPHONE INPUTS
2-2. CHANNEL CONTROLS
2-2-1. CHANNEL MAIN CONTROL 2-2-2. CHANNEL TONE CONTROLS 2-2-3. EFF./REV. CONTROL 2-2-4. MONITOR CONTROL
2-3. MASTER SECTION CONTROLS
2-3-1. MAIN MASTER LEVEL CONTROL 2-3-2. MONITOR MASTER LEVEL CONTROL 2-3-3. REVERB RETURN TO MAIN CONTROL 2-3-4. REVERB RETURN TO MONITOR CONTROL 2-3-5. EFF./REV. SEND LEVEL CONTROL 2-3-6. AUX. LEVEL CONTROL 2-3-7. GRAPHIC EQUALIZER 2-3-8. DIGITAL REVERB and EFFECTS CONTROLS 2-3-9. PHANTOM POWER 2-3-10. DELTACOMP 2-3-11. POWER LED
2-4. PATCH BAY
2-4-1. MAIN OUTPUT 2-4-2. MONITOR OUTPUT 2-4-3. EFF. OUTPUT / REVERB FOOTSWITCH 2-4-4. GEQ OUTPUT 2-4-5. GEQ INPUT 2-4-6. AUX. INPUT 2-4-7. TAPE INPUTS 2-4-8. TAPE OUTPUTS 2-4-9. PWR. AMP INPUT
TM
3. REAR PANEL
3-1. SPEAKER OUTPUT JACKS 3-2. POWER SWITCH 3-3. POWER CORD
4. SETUP AND OPERATION
4-1. INITIAL CONTROL SETTINGS
4-1-1. TYPICAL PRESETS 4-1-2. MAIN CONTROL 4-1-3. MON. CONTROLS 4-1-4. CHANNEL TONE CONTROLS 4-1-5. GRAPHIC EQUALIZER
4-2. USING THE THE GRAPHIC EQUALIZER TO ELIMINATE ACOUSTIC FEEDBACK
4-2-1. THE CAUSE OF ACOUSTIC FEEDBACK 4-2-2. TYPICAL PROCEDURE FOR ROOM EQUALIZATION
4-3. CORDS AND CABLES
4-3-1. MICROPHONE CORDS
4-3-2. SPEAKER CABLES 4-4. INPUT PADS 4-5. PATCHING
5. UPKEEP AND SERVICE
6. TROUBLESHOOTER'S CHECKLIST
7. SPECIFICATIONS
1-1 Block Diagram
MAIN
MONITOR
PHANTOM
EFFECTS/REVERB
MAIN
MASTER
EFF./REV.
SEND LEVEL
OUTPUT
MONITOR
MASTER
MAIN
GEQ
INPUT
REVERB RETURN
TO MONITOR
L
TAPE
OUTPUTS
R
GRAPHIC EQ
DIGITAL SIGNAL
PROCESSER
GEQ
OUTPUT
POWER
AMP INPUT
PEAK
PILOT LAMP
POWER
AMP
DELTACOMP
SWITCH
SPEAKER OUTPUT
2 OHM
MINIMUM
TM
EFFECTS OUTPUT
REVERB
FT. SW.
MONITOR
OUTPUT
MICROPHONE
+
21
LINE
PHANTOM
POWER
SWITCH
3
_
REVERB RETURN
TO MAIN
+15 VDC
AUX
INPUT
TAPE
INPUTS
L
R
MAIN
CHANNEL EQ
_
+
HIGH
MID
LOW
Signal path exclusive of individual channel
AUX.
LEVEL
TO PHANTOM BUSS
TO MAIN BUSS
TO EFFECTS/
REVERB BUSS
EFF./REV.
Signal path typical
for each channel
TO MONITOR BUSS
MON.
1. OVERVIEW.
1-2. INTRODUCTION. The SR series integrated mixer/amplifiers have been
designed for easy setup and simple but versatile oper­ation. Requiring only the addition of microphones and speakers, the SR powered mixers are self-contained sound reinforcement systems, with features and per­formance generally found only in units costing much more.
not exceed 0.8 VRMS. Higher amplitude signals, such as balanced line levels signals, may also be patched into these jacks if an input pad is used (see Section 4-
4). The XLR jack is wired according to the following standard:
Pin 1 is ground. Pin 2 is the non-inverting (+) input. Pin 3 is the inverting (-) input.
Signals at the XLR jacks experience 20 dB more gain than those at the 1/4” channel input jacks.
Each input preamp channel provides a balanced XLR MICROPHONE input with switchable phantom power for condenser microphones, a 1/4’’ phone jack LINE input, MAIN level control, LOW, MID, and HIGH fre­quency tone controls, MON. send control and an EFF./REV. send control.
The master section features MAIN MASTER, MON. MASTER, AUX. LEVEL, and DIGITAL REVERB and EFFECTS level controls, a GRAPHIC EQUALIZER, and a versatile patch bay.
The SR series mixers include DELTACOMP tive compression system. DELTACOMP
TM
, an adap-
TM
is a high per­formance power amp limiter that senses amplifier error due to clipping, and automatically reduces the gain until the distortion is minimized. A front panel yellow PEAK LED indicates power amp input limiting.
To make setup as simple as possible, the mixer, graphic equalizer, and power amplifier are pre­patched in a standard configuration that requires plugging in only the microphones and speakers to be “on the air.” To make the system as versatile as possi­ble, this “normalized” patch may be bypassed by using the inputs and outputs of the patch bay. These allow the individual components of the system to be used in various combinations, and for external equip­ment to be added into the system as the need arises.
2-2. CHANNEL CONTROLS. 2-2-1. CHANNEL MAIN CONTROL. The channel’s
MAIN control determines how much of the channel’s signal is sent to the Main mixing buss and to the EFF./REV. control. For best signal to noise ratio, this control should be set relatively high; usual settings are around 2 o'clock, except when input signal levels are great enough to cause clipping. See Section 4-1-2.
2-2-2. CHANNEL TONE CONTROLS. The LOW, MID, and HIGH controls on each channel may be adjusted to enhance the qualities of its particular audio signal and to control excessive boominess or sibilance (“s” sounds) by using the LOW, MID, and HIGH controls. When these controls are at 0 (straight up), the channel is “flat” (no frequencies cut or boosted). The most nat­ural sound is achieved by avoiding extreme tone con­trol settings.
2-2-3. EFF./REV. CONTROL. This control determines how much signal from each channel goes onto the Effects/Reverb buss. All signals on this buss are com­bined in the master mixer section, and sent both to the EFF. OUTPUT jack and to the internal reverb system. The EFF./REV. control is wired post MAIN control and post-EQ; thus, the level and tone of the EFF./REV. sig­nal are altered by the settings of the MAIN, LOW, MID, and HIGH controls.
The SR Series has been designed to meet the needs of professionals, and can be counted on to provide reli­able service in the most demanding situations.
1-1. BLOCK DIAGRAM. The block diagram illustrates the typical signal path for the SR series.
2. FRONT PANEL CONTROLS, JACKS AND LEDs.
2-1-1. LINE INPUTS. The 1/4” phone jacks are intended for high impedance balanced or unbalanced inputs whose amplitude is under 8 VRMS. This would include instrument and line level signals. When used as a balanced input, the tip connection of the 1/4” jack is the non-inverting (+) input and the ring con­nection is the inverting (-) input.
2-1-2. MICROPHONE INPUTS. The three-pin audio connectors (often called “XLR” or “Cannon” connec­tors) on the front panel are intended for balanced input signals from low impedance microphones. To avoid clipping in the input stage, signal levels should
2-2-4. MON. CONTROL. The MON. control deter­mines how much of a channel’s signal is sent to the Monitor buss. This allows a separate mix to be creat­ed for stage monitoring. The control is wired pre­MAIN control and pre-EQ; thus, the monitor signal is independent of other channel controls.
2-3. MASTER SECTION CONTROLS. 2-3-1. MAIN MASTER LEVEL CONTROL. This is the
master level control for the main mix. It controls the signal level present at the MAIN OUT jack, if nothing is patched into the EQ. IN jack or the PWR. AMP INPUT jack. The MAIN MASTER control also deter­mines the graphic equalizer and power amplifier input levels.
2-3-2. MONITOR MASTER LEVEL CONTROL. This is the master level control for the monitor mix. It con­trols the signal level present at the MONITOR OUTPUT jack.
2-3-3. REVERB RETURN TO MAIN CONTROL. This control determines how much of the signal from the reverb system is added or returned to the main mix.
When the LED is illuminated, the phantom power is on. The 15 volts used for phantom power will run nearly all condenser microphones.
2-3-4. REVERB RETURN TO MONITOR CONTROL. Determines how much of the signal from the reverb system is added to the monitor mix. Many vocalists like to hear some reverb on their voices in the monitor system; be aware that reverb in the monitors increases the likelihood of feedback in the monitor system due to increased gain.
2-3-5. EFF./REV. SEND LEVEL CONTROL. The mix created by the settings of the channel EFF./REV. con­trols appears at the EFF. OUPUT jack, as well as being sent to the reverb system. The signal level at the EFF. OUTPUT jack is adjusted by the individual channel EFF./REV. controls, and the EFF./REV. SEND LEVEL master control.
2-3-6. AUX. LEVEL CONTROL. Signals patched into the AUX. INPUT jack and / or the TAPE INPUTS are sent to the Main buss via the AUX. LEVEL control. This control determines how much of the AUX. INPUT sig­nal appears in the main mix.
2-3-7. GRAPHIC EQUALIZER. The 9 band graphic equalizer consists of active band pass / band reject fil­ters spaced at octave intervals. The lowest frequency filter is centered at 63Hz while the highest frequency filter is centered at 16kHz. All others are centered on the frequencies indicated below their sliders. Moving the sliders up or down boosts or cuts the gain at the indicated frequencies. This allows the sound engineer to suppress feedback by compensating for room reso­nances encountered in live sound reinforcement appli­cations. The EQ controls are accurately scaled in dB to indicate the amount of cut or boost applied at each frequency.
NOTE: It is possible for distortion to occur in the Graphic Equalizer if excessive attenuation is used (slid­er well below center) while also trying to achieve sig­nificant level within the attenuated bands.
2-3-8. DIGITAL REVERB AND EFFECTS CONTROLS. The internal DSP (Digital Signal Processor) system pro­vides 126 different types of reverb and effects. These are selected by the two rotary switch controls located in the DIGITAL REVERB and EFFECTS section of the front pannel. These two controls work together to select and modify each reverb sound or effect algo­rithm. When the bottom switch chooses one of the fourteen reverb selections, the top switch chooses the reverb or delay time. When the bottom switch is in the SPECIAL EFFECTS setting, the top switch chooses the special effects algorithm. This is indicated by the pan­nel graphics, which show light and dark colored sec­tions.
2-3-9. PHANTOM POWER (Select Switch and Indicator LED). Engaging the switch applies 15 volts of phantom power to all the XLR microphone input con­nectors for powering electret condenser microphones.
PHANTOM POWER LED. The green LED is the “phan­tom power on” indicator.
2-3-10. DELTACOMP
TM
. The yellow DELTACOMP
TM
LED comes on when excessive signal levels are being sent to the power amp. It illuminates on signal peaks that cause clipping (distortion) with DELTACOMP activated, or for signal peaks that cause DELTACOMP to reduce power amp input level (DELTACOMP
TM
not
TM
active). If the limiter is on for a large percentage of the time, the dynamic range of the system is reduced and the overall sound suffers; for this reason, level controls should be adjusted so that the LIMIT light only flashes on occasional signal peaks.
DELTACOMP engaging the DELTACOMP
TM
SWITCH. DELTACOMPTMis activated by
TM
SWITCH.
2-3-11. POWER LED. The red POWER LED is the front panel “power on” indicator.
2-4. PATCH BAY. 2-4-1. MAIN OUTPUT. Signals from each of the
channels are combined with AUX. and TAPE INPUTS and the REVERB RETURN TO MAIN signal to form the final main mix. The overall level of the mix is con­trolled by the MAIN MASTER control and this mix appears at the MAIN OUTPUT jack. The mix is also normally passed on to the GRAPHIC EQUALIZER and to the power amplifier (see Sections 2-4-5 and 2-4-9). Inserting a plug into the MAIN OUTPUT jack does not interrupt the normal signal flow. It can be used for inserting signal processing equipment into the signal path (see Section 4-5), using the MAIN OUTPUT as a send, and the GEQ INPUT as a return.
2-4-2. MONITOR OUTPUT. Signals present on the Monitor buss are combined in the monitor summing amplifier and sent to the MONITOR OUTPUT jack. The signal level present at this output is determined by the MONITOR MASTER control.
2-4-3. EFF. OUTPUT / REVERB FOOTSWITCH. Signals present on the Effects/Reverb buss are mixed in the Effects/Reverb summing amplifier. This mix is sent both to the Reverb driver and to the EFF. OUTPUT jack. Thus the mix created by the settings of the EFF./REV. level controls on each of the preamp chan­nels is present at the EFF. OUTPUT jack. The overall level at this output is determined by the master mix section EFF./REV. SEND LEVEL control. This output may be used to drive external effects (echo units, phase shifters, flangers, digital delays, etc.). The return signal from the effect may be patched into the mixer through the AUX. INPUT jack, or by way of a preamp channel 1/4” input jack. Use of a preamp channel as a return gives you the ability to shape the frequency response of the signal; however, care must be taken to insure that the EFF./REV. control on that
TM
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